Described as a psycho-geographic journey through a collection of traditional folk songs and original compositions, listening to this first solo album from Brona McVittie is a magical experience.

Her music is a wonderful mix of the traditional and the contemporary, bringing together the harp, the flute and the fiddle with electronic and ambient arrangements.

It’s interesting to consider the influences she acknowledges in the light of her music. Bert Jansch is mentioned, and Richard Curran, responsible for the string arrangements, has recorded with Jansch. The influence of John Martyn, Juana Molina and Tunng are part of her story too, as are classical composers Satie and Beethoven. It’s harder to discern Prince’s influence on her music, but perhaps that’s more about attitude and spirit.

And this is a spiritual kind of music, perfect for meditation and introspection. It transports you to another place, a faery kingdom. It opens up a world of landscape and folklore, wild places and nature. She’s also influenced by the poetry of WB Yeats, using lines from his poems as song titles.

There’s a power in the delicacy of her singing reminiscent of Cara Dillon and Vashti Bunyan. Her songs are mesmerising, whether they are new arrangements of traditional songs or her own compositions.

She draws on her other musical projects to create this magic. Keiron Phelan plays flute on this album and also plays in post folk trio Littlebow with her. She’s part of the Irish all female folk band the London Lasses and the acapella group Run.

She has brought together a group of musicians who obviously share her vision. Richard Curran and Keiron Phelan are joined by Hutch Demouilpied on trumpet, and Annie Garner. Myles Cochran is on slide guitar and drums as well as production credits.

The opening track 'When The Angels Wake You' has a dreamy Eastern feel. 'We Are The Wildlife', the title track, is an exploration of our relationship with the natural world. 'And The Glamour Fell Upon Her' with its hypnotic vocals is inspired by Yeats, and of course the glamour referred to here is something very much of the faery world. 'Under the Pines' shows off the wonderful flute and harp arrangements created for this album.

The four traditional songs are beautifully performed and arranged and the sweetness of her vocals is delightful.

The only instrumental track, 'The Vast and Vague Extravagance That Lies at the Bottom of the Celtic Heart', takes its name from Yeats’ writing. Yeats referred to the great Celtic phantasmagoria, a meaning no man has discovered and no angel has revealed.

Brona McVittie’s music goes some way to showing us what Yeats was searching for.